BANDCAMP FRIDAY AND NEW FREE STUFF FOR YOU ALL!!!

New mini EP coming back to the roots and "Horror Disco", inspired by one of my favorite Spanish Fantaterror classic movies and the vampire Carmilla.
An intro, outro and a full Horror with EBM nuances track FREE DOWNLOADable for you all!

The Blood And The Dagger

FREE DOWNLOAD!

WLDV - The Blood And The Dagger FREE DOWNLOAD

Voices Radio - XTENSION - FunkyKid | Voices at Night 13.02.2023

We are eternally grateful to the darkwave/post-punk communities for recognising and embracing us as one of their own, not least because, when we formed Lunar Paths in late 2021, we had no idea as to what musical genre we belonged! We simply threw stuff at the proverbial wall, in order to see what would stick. 
Our roots, as veterans of the original northern UK goth scene, undoubtedly played a part in determining our sound, but then so did the many seismic changes in the musical landscape that took place over the last four decades. 
We hear a lot of these influences in the new music of our peers, some of which sounds like it could easily have been made in the early 1980s, but, when it comes to pinning down and describing our own sound, it seems like an almost impossible task. 
Take, for example, this, our latest song, a downright peculiar blend of spoken word psychedelia shot through with sirens, darkwave drums and buzzing, post-punk guitars. We have not made anything like this to date. Indeed, each track that we make seems different from its predecessors–and yet we do undeniably have a ‘sound’ that is all our own, and recognisably ‘us’. 
So, how did Falling Star come to be? 
First of all, Kevin came up with an urgent, driving rhythm, soaked in subs. Diane found two blistering guitar samples, and proceeded to warp, stretch, transpose, slice up and stitch it all back together again. Kevin came up with a piano riff, and Diane created something that sounded a bit like a sitar. Then we added a bit of bodhrán, radio interference and tornado siren…. as you do. 
There was something about this tense mix of sounds that called to mind all those tragic, troubled people, real and fictional, who weigh so heavily on the hearts and minds of their friends because they are so clearly in some sort of distress, and who may or may not be a danger to themselves. The lyrics are rendered in spoken word, and in a cheery bubble-gum psychedelia that goes directly against the grain of this dark subject matter.

sapphire

Sin Hilo finds, once again, a hidden treasure in the underworlds of the IDM, Vanadium reemerges from his cave and launches a project that will sound a lot in the coming years.

Vanadium leaves its mark in his, now new home, with a mini LP with 5 tracks and two remixes of electronic music without regards. 

Vanadium shows his rawest side against his most melodic on each track, it is, undoubtedly, a great discovery on our part that will be well received in the electronic world.

"UNAWD" opens the album, a melodic song with a jumping rhythm that completely introduces us into their world. Then "AWST" sits us down with its strong and dry hits, immersing us into the driest and most serious IDM of Sin Hilo, "CRWBAN" opens the doors to the Sun and the shine of the exquisite IDM that shows us throughout the album.

"HEDFAN" is definitely the most serious track on the album, a profoundly dark and glitchy for the lovers of deep and sensitive electronic music, "PRAWF" closes the album with a fun, hectic and completely broken track which makes a complete mini album of pure and deep emotions of what will, without a doubt, be a lasting project.

To finish rounding off the album, it includes two deluxe remixes, Inkipak lands in Sin Hilo to give shape to "UNAWD" giving it his own feeling and affection. And of course, we couldn't miss the opportunity to include one of our best artists from Sin Hilo.... Komatsu does his magic with "AWST" remix completely destroying the rhythms and letting us fly by his unique IDM. 

The project starts in Madrid but we have no doubt that it will be traveling all over Europe in no time... Vanadium has no limits!

Vanadium | SH16 (Album Preview)

One of the weirdest summers in years, with the stop-start weather and shifting moods - it never really got started so I'm both kinda glad it's over but also a bit wistful for what could have been. Oh well, spooky season to look forward to! Here's a few tunes to help with the transition . . .

Boards Of Canada - 1986 Summer Fire
Sun's Signature - Golden Air (CUTS Remix)
Kate Bush - An Architect's Dream
Porno For Pyros - Porpoise Head
Daydream Twins - Sunnmaschine
Medicine - Long As The Sun
Last Tourist - Riding Seas
Shana Falana - Gone
Galaxie 500 - Flowers
Ride - Here & Now
Jesus And Mary Chain - Happy When It Rains
Low - Walk Into The Sea
Slowdive - The Slab
Guisers - Boys Of Summer (Don Henley cover)
Chapterhouse - Summer's Gone
Rachel Goswell - Warm Summer Sun

Summer's Gone Mix (shoegaze, dreampop, IDM, ambient)

Distant lights (Full Orchestra Project #5)

Tell me what is true,
do you even know?
Since everybody knows,
someone must be wrong.

Sometimes it´s the same
as talking to the wall,
that's why they prefer
talking to their dogs.

Just looking around,
not looking for you.
Expecting less from others.
Just walking fast,
not running from you.
This is my story.

State of paranoia,
free yourself from it.
State of paranoia,
Are they looking at me?

Just looking around,
not looking for you.
Expecting less from others.
Just walking fast,
not running from you.
This is my story.

Just looking around,
not looking for you.

Just walking fast,
not running from you.


Photo and Cover: Redimere Salvare

At Me?

“UNIVERSOS OSCILANTES” ... an experimental tribute to Aimé Painé.

Too much to say. We could elaborate on themes like colonization, identity and culture; on territorial and political vindication, sung as a form of insurrection in the younger generations of the Mapuche people. On the “Sons of Lautaro” who migrated to the city, working in construction sites and as servants of the white people. But, not being myself part of the Mapuche culture, I would only be able to talk almost exclusively from the outside, from a “half race”, that uncomfortable position in the middle, undefined, where many of us mestizos are found; that, nevertheless, was noticeable enough so that they asked us about it; profound enough to fell a cold shriek in our own flesh.

That is why I would not want this tribute to be merely aesthetic, a soft and nice gesture for an obliging audience. It is a spiritual homage, but not tepid. It is experimental, yes, due to the passage of that sacred song through the body, but it is not an intellectual one, and in no way one made by a scholar. It is a sonic re-reading of Aimé Painé: an orphan who was raised by winkas; a teenager raised in Catholicism, who had her first experiences as a singer in the liturgical chorus of her school; a young woman who, in search of her identity, returns to the indigenous community, where she stays and becomes part of the Mapuche culture: she learns the Taiel from the voice of the grandmothers, and sings it; a woman who, after taking those songs to several stages, accompanied only by her kultrun, dies young, without having ever recorded an album. A woman whose voice survived only in the home-made recordings made by those who were closest to her, who stored them carefully, only to have, years later, apocryphal audios going around in the Internet, falsely attributed to her.

And this is a re-reading, as well, made from my own culture: the culture “in the middle”, that unconformable, undefined place that, nevertheless, when traversed, evokes –with the strength of the Taiel– a song of rebellion and pride, where we can also hear the ashes of this dying regime. “Universos Oscilantes” is an experimental homage to Aimé Painé (1943-1987), a Mapuche singer whose interpretations, the Taiel –sacred songs– were compiled in the album “De lo profundo de la madre Tierra” (From the depths of Mother Earth) by Don Juan Namuncurá.

To create this record I conducted an investigation that took me far from the movies that have portrayed Aimé’s life, and into the importance of her singing and the profound meaning that the sound has for the Mapuche people; from the communities in the mountains to the “colonies”, the settlements in the Patagonia closest to the ocean, where the prejudice against the indigenous people is present to this day.

I found the history of the rivers, the trees, the animals and the mountains, that precede human language. In the Taiel, the sacred song, you can sing like the Luan – the dear–, the Huala –the duck– or maybe the Ngürü –the fox–, and every song has in it a bit of the spirit of each animal, and some of what the people want to remember and honor. In the Taiel there are rumours of life and an inner song that is one of a free man. Because the Mapuche believe that the life of each person is a path to find your own Taiel. That is how I learned the one singing it in a circle is not the best singer, but he who has the appropriate spirit to make the soul of the whole community go forward.

In this album is found the result of this search. Together with female artists who I invited to be part of these reinterpretations, we went in a journey back and forth from our culture to the sonic heritage of a brave people, with the conviction that there, in the culture of sound, dwell as well the imagination, the strength, and the dignity to not be defeated."

- Paula Zustovich (Minicomponente) 

@minicomponente

[JGT107] “Universos Oscilantes”

"Luan Taiel II (ft. Juli Papi)" - Minicomponente

Hold the Light

Echoes of the Void is a personal project born from the urge to explore a different dimension of sound.
It sits somewhere between ambient, dub techno and cinematic textures — where music stops being linear and turns into atmosphere.

Each piece unfolds like a scene: minimal layers repeating and dissolving, resonances stretching into silence, tension that feels as present as the notes themselves. Between the analog and the digital, the brutalist and the ethereal, a universe emerges that shifts constantly — sometimes evoking the earth, sometimes the depths of the ocean, sometimes the vastness of space.

Echoes of the Void doesn’t try to provide answers. It offers a place to inhabit — an invitation to lose yourself in the echo, and discover within it a different way of listening.

14_Echoes of the void

For booking and remixes: info.distantgaze@gmail.com
Any other inquiries: clouzer@gmail.com
Music on @neinrecords @fleisch-berlin @distant-gaze @samorecords

Distant lights (Full Orchestra Project #5)

Clouzer